aimed at forming an union of various schools, and added to it a certain originality in giving dignity to the portraits introduced into his histories, with the most animated, yet the most delicate complexions. He excelled in the choice and distribution of his colours, among which he introduces a reddish tint, which much enlivens his pictures, and is one of the indications by which we may recognise the author. He is said to have employed exquisite care in the application of his tints, and to have possessed some secret art, by means of which they continue to attract the envy of posterity. The truth is, he selected, purified, and kneaded well his colours, besides consulting chemists upon the subject. From some pictures we feel inclined to turn away in disgust, so extremely do the colours resemble the tints made use of by coach painters; and we have reason to complain of want of refinement in many instances. But how very few apply themselves seriously to select and refine their materials, to make experiments, and to analyse those colours that have been once applied. At the church of San Stefano, in Verona, there is exhibited his "Passion of the Forty Martyrs," a work that, in regard to depth of colours and foreshortening, partakes much of the Lombard; in point of expression and design, of the Roman; and in its colouring, of the Venetian School. It is one of the most studied, finished, and animated pieces that he produced: there is a choiceness in the heads that approaches Guido's; and a skill of composition, that throws into the background of the picture a great portion of the multifarious history, as appearing in a field of vast extent, where his figures are admirably varied, according to the distances in which they are supposed to appear. Yet he does not belong to that class of artists who go about in search of personages for their histories, in order to fill them with figures. On the other hand, he appears to take more pleasure in introducing an inferior number. Thus his picture of a Pietà painted for the church of La Misericordia, at Verona, exhibits only a dead Christ, the Virgin, and Nicodemus; but the whole so well designed, arranged, and animated, as well as coloured, that it has been esteemed by many his masterpiece, and is certainly one of the best paintings in Verona. In that of his Epiphany also, in possession of the Signori Girardini, of which the rough draft is preserved in the Casa Fattorini, at Bologna, he is by no means lavish of his figures; but he succeeded in arraying those of the Magi in so noble a manner, as to remind us of Titian and Bassano. Turchi died at Rome, leaving behind him two excellent disciples in Gio. Ceschini, and Gio. Batista Rossi, called il Gobbino. The first of these produced copies of his master's works, that had all the appearance of originals. Both continued to employ themselves at Verona, though declining in importance and in credit in proportion as they advanced in years.